Bio:
Toda a arte de Bianca Gismonti nasceu de forma natural e profunda. Herdou a musicalidade do pai – o pianista, violonista e compositor Egberto Gismonti; a mãe, a atriz Rejane Medeiros, legou-lhe a beleza e a teatralidade. Aos nove anos iniciava os estudos de piano e teoria musical e já aos 15 começava a tocar com o pai pelos palcos do mundo. Aos 18, entrou no curso de bacharelado em piano na UFRJ e antes dos 20, vivenciou a magnitude do palco com a amiga atriz Leandra Leal e com a pianista Claudia Castelo Branco, com quem criou o duo de pianos Gisbranco (em dez anos de carreira, são dezenas de viagens, turnês internacionais, três CDs lançados, um DVD coproduzido pelo Canal Brasil e parceria com músicos como Chico César, Jaques Morelenbaum, Carlos Malta, Marcos Suzano e Mônica Salmaso).
O encontro com o baterista e marido Julio Falavigna, em 2009, levou Bianca a explorar a fundo seu caminho como compositora. Fruto dessa travessia, após oito anos de carreira com o Gisbranco, lançou o primeiro e elogiado disco solo, Sonhos de Nascimento (2013), com a presença de nomes como Naná Vasconcelos, Yuri Popoff e Vittor Santos.
Após turnês com participação de diversos músicos, em 2014 a formação do BG Trio se consolidou, seguindo a linha do trio mais moderno, que interage o tempo todo. Com o baterista Julio Falavigna e o baixista Antonio Porto, o BG Trio excursionou pela Europa e Ásia, difundindo sua música na Inglaterra, Áustria, Espanha, Portugal e Japão. Fez ainda shows no Brasil, Uruguai e Argentina.
Em 2015, como consequência da imensa vivência e identificação musical, Bianca finalizou a produção conjunta do seu segundo disco autoral, Primeiro Céu, e do primeiro DVD, ambos com o Trio, enriquecido pelas participações especiais das cantoras Jane Duboc e Paula Santoro, do gaitista José Staneck, do trompetista Jessé Sadoc, do pandeirista Sergio Krakowski e do percussionista africano Djakali Kone.
Bianca Gismonti levantou voo, do Sonho ao Céu.
Texto de Roberto Muggiati
Contact Information
Management/Booking:
Press Contact:
Ana Paula Romeiro [email protected]
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).